Tuesday, May 17, 2011 at 12:17PM 
Matthew Mullane - VDSQ Solo Acoustic Vol. 4 Reviews
Wire (September 2011)
Dusted Magazine / Still Single
"Representing the village of Hiram, OH, a Northeastern hamlet between Cleveland and Youngstown, by way of Chicago (where he also performs on synth as Mego recording artist Fabric) Matthew Mullane presents two sides of elegant, fluid acoustic guitar instrumentals, a longform suite with gentle buildups that are distinguished without being overdone or meandering. When he finally does break into a pattern, the grace in which the melodies flow is very worth noticing. Mullane seems more polished and a bit more stoic than the wild, rambling folk that’s come of age in recent years, but that’s fine; he plays an ever-so-slight counterpart role with dignity and reserve. Beautiful music. 200 copies, letterpressed sleeve."
"Honestly, just some of the most beautiful, transcendent music I’ve come across recently and without a doubt one of my early shoe-in contenders for album of the year. Check out the sample up on Mimaroglu and grab this immediately. Totally and completely essential."
"This past February, though, a breathtaking installment of Vin du Select Qualitite’s Solo Acoustic series was released featuring Mullane’s liquid, extended work— a delightful surprise to most, I would imagine, including the label. (The label first heard these songs as an unsolicited demo.)The specter that hangs over instrumental acoustic guitar always seems to be John Fahey’s, either because he’s the most familiar reference point or because his impact was just that large. Either way, I’d say that Mullane’s working a different set of influences—this is pure guesswork on my part, but there’s a very natural marriage of Robbie Basho’s raga workouts and the more concise, formal figures of someone like William Ackerman. The two part “Once Was Is Once Again” suggests such a nod to the past in its title as Mullane cycles through a series of melodic, emotional figures, slowing things down at times to let each note hang in the air while ecstatically dervishing at others. The brief coda of “A Second Choir” brings things to a close and it’s hard not to think that you’ve been witness to something remarkable."
"His approach to the acoustic guitar is like having a dinner conversation with an old friend. The note-induced communication that is involved is impressive and comforting with a dominance of counter notes fluttering about in the distance to give the pieces depth. You hear it on all three of his compositions: “Once Was It Once Again, Parts I and II” and “A Second Choir.” Mullane lets his songs spring to life by moving his pieces with a natural flow that you cannot help but sail along with. He uses space and stops with such ease that the song breathes and moves gracefully. Like a rollercoaster, Mullane dances with excitability just as graciously as he does with lento as if he’s giving the listener time for it all to sink in before sending us down that next hill. Either way, there is movement in concept and time to Mullane’s precise fingering."
"Matthew Mullane’s Volume Four is a dynamic and contemplative album. The two extended improvisations cycle determinedly through a variety of picking patterns, melodic fragments and riffs… Mullane is an inventive improvisor. The more meditative stretches remind me very much of the “free raga” style associated with the late Robbie Basho (and now being practiced, wonderfully, by former Basho student Rich Osborn.) There is an uncommon clarity to the improvisations here, a seemingly intense level of concentration… or at least that’s what it sounds like to me! After the Brokaw disc, this is probably the next one I would recommend."
